The new Netflix movie, which is led by the graph

Let’s not be Sugarcoat – the original animation in a difficult place these days. between The Emmy Chef Show is canceled, the Small Chefs Show, and, “Elio” from Pixar on the weekend at the box office (I still hope The return of “racism” Narration), an endless display of live work is a classic cavity of the animation on which we grew up, and Max removes the original rings from “The Looney Tunes” For some of the causes of turns, things look, well … dark! But among the online thinking tools and “Rip Original Animation” signs, Sky-Falling is premature. An example of this is: “KPOP Demon Hunters” is exactly here, and the rules of any old person are played.

The latest team between Netflix and Sony Pictures animation, brilliant brilliant scene, “KPOP Demon Hunters” is the follow -up from the last company Nomination for the “Spider-Man: Via Spider.” Instead of bringing a piece of loved IP, the film is centered on a group of K-POP girls called Huntr/X, consisting of Pop Odirms Rumi (Arden Cho/ejae), Mira (May Hong/Audrey Nuna), and Zoey (Ji-Young Yoo/Rei Ami). Not only is the triple of the world’s most popular musical works, but it is also the latest in the long proportions of Satan fishermen assigned to using their musical talents to keep the Honmoon barrier that concludes demons-their leader, GWI-MA (“Squid Game” Villain Lee Byung-Hun)-from the human world.

Under the confident direction of Maggie Kang (in its first appearance) and co -manager/writer Chris Abelhanz, “KPOP Demon Hunters” explodes on the screen as an animated animated story with legitimate Oscar songs, amazing animation, emotional resonance, and Marwa, and overpowering these songs with Rythm and Relaoeos. It contains everything that a person can want in a moving movie, and based on his star performance on Netflix, the masses appear collectively.

“KPOP Demon Hunters” wears its effects such as the wet honor badge, with flavors from “Buffy the Vampire Slayer”, “Gasies completely”, “The PowerPUFF GIRLS”, and you are somewhat. However, what would have been a mixed mixture instead landed as a pulmonary intelligent Remix. The RUMI Arc, in particular, is an exploration of the commitment of generations and acceptance so that the darkest facts about their existence, while also wandering in the daily challenges in the world only. Merging it into the entertainment scene of the K-POP-which has become increasingly influencing the American fans (you can thank “The White Lotus” and BlackPink Lisa For the current labubu madness) – The film gives global importance and now sensitive. Many films these days are trying to raise feelings yesterday or repeat time preserved formulas, but “Kpop Demon Hunters” develops the familiar to something new in an exciting way.

A large part of the film’s success comes as a courtesy of courtesy of Sony Pictures, which continues to rule as a stylistic power. By following the border images of “Verse Spider” films And “mitchells versus machines”, “ This film again sheds light on the mastery of the studio in mixing the patterns of animation, textures and colors. Each group dazzling, mowed in excessive saturated color and kinetic details-but it is a more quieter or more absurd personal moments that really sparkle.

CG animation is thrombosis with expressive elasticity of classic two -dimensional anime patterns, providing face abnormalities that excite the eye without sacrificing future shine. Zoey, in particular, is the comedy revelation: whether the shark teeth are in a medium anime style or wander around six packages (which then become an atom on the cocoa, and ultimately, embodies the commitment of the film to photography and response. Animation coincides with feverish, electrical and delightful worlds for both K-Pop and Shemon Hunting, and you hear “KPOP DEMON Hunters “as one of the most original cinematic rides of the year.

When the TD Cowen media analyst, “ELIO”, said on the opening weekend expectations Delivery date“We expect film studios to interact with this clear trend by shedding light on a fewer iP animated (do not blame the executives, blame the masses).” This confirmation – that the audience blaming the performance of the box office to the original moving features – not only misleading, but intellectual lazy. The masses do not reject the original animation. They respond to the market that makes this content increasingly accessible and unbelievable.

Only last month, “Lilo & Stitch” directed great crowds in re-imagining them alive-not only because it is “IP that can be recognized” in an era in which cultural satisfaction prevails, but because of families, It represents an investment that is less risky. If you will buy tickets for an adult and two children to see “ELIO” in my local play in the oldest non-water show (to accommodate parents having to work), it will cost me $ 59.04-and this is before the amusement in strange concessions. In our current economic climate, families are understood understandable when it comes to what you will see in theaters. When marketing is minimal and the film lacks the brand’s knowledge, people seem less likely to spend up to $ 70 as if it is a gambling.

Meanwhile, “KPOP Demon Hunters” flows on Netflix – immediately reaching millions, without an additional cost that exceeds the subscription and the ability to enjoy the comfort of the sofa. As much as I would give a party to see this with great and beautiful glory on the big screen where it belongs, its success is undoubtedly due to the ability to reach the broadcasting platform. This is not a matter of indifference. It is a structural problem in a unified industry that has made the theatrical experiences increasingly costly. Until this changes, the original animated films will continue to flourish as the accessibility prevails – it is likely that it is not in cinemas, but on broadcasting platforms.